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Puccini without Excuses: A Refreshing Reassessment of the World's Most Popular Composer (Vintage Original)

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Puccini without Excuses: A Refreshing Reassessment of the World's Most Popular Composer (Vintage Original) (Paperback)

by William Berger (Author)

5.0 out of 5 stars See all reviews (1 customer review)

Price:	�7.99 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Puccini: His Life and Works (Master Musicians Series) by The late Julian Budden
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Product details

Paperback: 480 pages
Publisher: Vintage Books (1 Nov 2005)
Language English
ISBN-10: 1400077788
ISBN-13: 978-1400077786
Product Dimensions: 20.3 x 13.2 x 2.8 cm

Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)

Amazon.co.uk Sales Rank: 75,455 in Books (See Bestsellers in Books)

Popular in these categories:

#1 in	Books > Music, Stage & Screen > Music > Composers & Musicians > Classical Music > Puccini
#9 in	Books > Biography > Theatre & Performance Art > Opera
#16 in	Books > Music, Stage & Screen > Music > Styles > Classical Music > Biographies

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Synopsis

A critical analysis of the life and work of the popular operatic composer reassesses Puccini's role in the history of music and his enduring legacy, in a study that encompasses a biographical profile, detailed discussions of each of his operatic works, recommended recordings and videos, trivia and anecdotes, and a helpful glossary. Original. 15,000

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	69% buy the item featured on this page: Puccini without Excuses: A Refreshing Reassessment of the World's Most Popular Composer (Vintage Original) 5.0 out of 5 stars (1) �7.99
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5.0 out of 5 stars Puccini with Many Excuses - Not That He Needs Them, 14 Feb 2006

By	J Scott Morrison (Middlebury VT, USA) - See all my reviews (TOP 50 REVIEWER) (REAL NAME)

William Berger has written a book for operatic neophytes (as he did in his previous books 'Wagner Without Fear' and 'Verdi with a Vengeance') who want to learn more about opera in general and about Puccini in particular, and yet who have little background with which to understand a full-length book about the life and works of a single composer. I am no operatic neophyte, but I learned much from this book and was completely engaged throughout, even when I was disagreeing with some of the author's points. Make no mistake, Berger has a charming, informal, chatty style that sweeps the reader up into Puccini's world. My only real complaint about the book is that Berger seems to protest too much about Puccini's worth. He takes up the cudgels against those pedantic critics and musicologists who cast aspersions on Puccini's artistic value. It strikes me that the neophyte is not all that interested in this battle in the first place and that this is a battle long since won anyhow. No matter, Berger gets in plenty of blows for Puccini, probably more than Puccini actually needs these days.

The book has several sections. After a somewhat tendentious introduction, we get a chatty yet informative life and times chapter which also includes a description of what was going on in the wider world of opera and classical music during Puccini's life. There are fascinating comments about, say, the relationship between Puccini and Toscanini in this section.

Then we get a chapter by chapter discussion of each of the mature operas, beginning with Manon Lescaut and ending with Turandot. Each opera's chapter has an exhaustive discussion of each scene of the stage action, followed by really quite wonderful ruminations on the musical and production issues of each scene. Berger's comments are generally witty and almost always spot on. He also manages to include some of the gossip extant about various productions, singers, stage directors and conductors.

Then comes a section called 'The Puccini Code' which focuses on the myth of Tosca (one of the weaker chapters in my opinion), 'what one might expect to see' in various productions, and a little coda called 'Puccinian Permutations' which comments on influences the various operas (and the Puccini style) have had on popular culture; think of 'Rent' and 'Moonstruck', for instance.

Finally, there is a section in which Berger discusses recordings of the major operas, with comments about various singers, conductors (and he pulls no punches here) as well as some mention of DVDs and videotapes. He ends this section with a listing and comments about important books on his subject. The book ends with a glossary of terms (helpful for the neophyte, certainly, but without a pronunciation guide, which he had earlier supplied for the names of the operas; that might have been helpful. Can you pronounce 'morbidezza' or 'Regietheater'?). The book contains a fairly full index. Editing and production values are quite good (although I suspect director Jean-Pierre Ponnelle and baritone Simon Keenlyside might have preferred their names be spelled correctly). The paperback's cover features a blow-up of a photo of the young Puccini taken from a 'musical celebrities cigarette card series.' (!)

I would recommend this book not only to the newcomer to opera but also to grizzled opera veterans who think they already know everything there is to know about Puccini.

Scott Morrison

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